Early Journal Content on JSTOR, Free to Anyone in the World This article is one of nearly 500,000 scholarly works digitized and made freely available to everyone in the world by JSTOR. Known as the Early Journal Content, this set of works include research articles, news, letters, and other writings published in more than 200 of the oldest leading academic journals. The works date from the mid-seventeenth to the early twentieth centuries. We encourage people to read and share the Early Journal Content openly and to tell others that this resource exists. People may post this content online or redistribute in any way for non-commercial purposes. Read more about Early Journal Content at http://about.istor.org/participate-istor/individuals/early- journal-content . JSTOR is a digital library of academic journals, books, and primary source objects. JSTOR helps people discover, use, and build upon a wide range of content through a powerful research and teaching platform, and preserves this content for future generations. JSTOR is part of ITHAKA, a not-for-profit organization that also includes Ithaka S+R and Portico. For more information about JSTOR, please contact firstname.lastname@example.org. CHARLES H. WOODBURY CHARLES H. WOODBURY'S ETCHINGS MR. CHARLES H. WOODBURY is much better known as a painter than as an etcher and many that are familiar with his paintings will be surprised to learn that he does etch, but those who have had the privilege of examining his etchings either in his studio or in the Print Division of the Library of Congress, where a comprehensive group of them has recently been exhibited, know that he is to be numbered among the foremost etchers of our time if not of all time. In the exhibition at the Library of Congress there were fifty-six prints, the majority of which were made at Ogunquit, Maine, where the artist spends the greater part of the year, and at which place in summer he conducts a school of outdoor painting. The sea and mountains have for some years been Mr. Woodbury's favorite themes. There is a kinship between these two great manifestations of nature both in sense of vastness and strength, and this Mr. Woodbury has felt very keenly and interpreted in his paintings. It is this same feeling which is to be found in his etchings and even in a more impressive form. An etching always seems to be the essence of things felt but unsaid, and thus these etchings of Mr. Woodbury's are really eloquent. He pictures the stern rock-bound coast of Maine with a few lines and gives an adequate impression of its bold grandeur; with a few more lines he brings before our vision the open sea and awakens the same sensibility that the limitless, restless waves themselves may have stirred; he gives a picture of the mountain tops, and the observer is bound to comprehend their lofty stateliness; or he presents a scene on the beach, and in- stantly one is transported to the gayest center of an American summer resort. And what is most interesting is that all this is accomplished with rather rugged lines and almost rude simplicity. This is something more than skill; it is mastery and of a kind which is rare. Here is a man with the artist's vision who has something to say and knows how to say it. His way is his own and his message is very CHARLES H. WOODBURY MAINE COAST CHARLES H. WOODBURY NORTHWEST WIND CHARLES H. WOODBURY CHARLES H. WOODBURY THE IJATH HOUR CHARLES H. WOODBURY 228 THE AMERICAN MAGAZINE OF ART worth while. This is modern art, and art which is essentially American; it is vital, forceful and sincere. In one of these etchings no larger than a man's hand there is as much as in a painting many feet in dimensions — ^indeed, much more than in most paintings. • Mr. Woodbury was born in Lynn, Mass., in 1864, and studied first at the Massa- chusetts Institute of Technology and then in Paris. He has received numerous medals of honor, among the latest of which was a gold medal for oil paintings and a medal of honor for water colors at the Panama- Pacific Exposition. Through the courtesy of Mr. Woodbury we are able to reproduce herewith several examples of his etchings from which our readers will be able to derive a much better understanding of their interest and value than could be given in words no matter how well chosen. L. M. A UNIQUE TEXTILE EXHIBIT In Newark, New Jersey BUT a few short months ago to say, on any educational subject, "Thus they do in Germany," was to gain respect- ful and interested attention. Nowadays, among a considerable class of excited citizens, the response appears to be, "Then thus we will not do." Our problem is, evidently, to emulate Germany's virtues and avoid her faults — which, after all, is but one variety of a problem universal. In Germany, in days of peace, they know the one industry exhibit, and they have tested its value. John Cotton Dana, of Newark, N. J., has followed with wise emulation. The Newark Museum, at present ensconced under the Free Public Library tent, and bidding fair like the proverbial camel to crowd the owners out, displayed during February and the first half of Marchi its second annual, one in- dustry, one state exhibit. Last year it was pottery — "The Clay Products of New Jersey." This year it was fibres and all that is made thereof — "The Textiles of New Jersey." The exhibit of 1915 was most beautiful; the exhibit of 1916 was more beautiful, if a comparative can be built on a surperlative. Down the middle of the great room, on the fourth floor, built originally for an auditorium, but transferred from the ministry of hearing to that of sight, ran a raised platform, where sat rival spinners and weavers — a Greek woman, spinning as did Penelope's maidens, with crude distaff and spindle, and the modern counter- part of a Colonial dame with treadle and flyer, an upright and a horizontal loom, with reeds a-clanking as the shuttles flew. The whole history of fibre preparation was told in four great cases, by picture, diagram, map and specimen. The cotton plant bore bloom and boll at once; the Egyptian camel plowed up the overflow of the Nile; the Southern mammy fetched in baskets the product of her day's picking; the bale was pressed, sliver and rove were carded, and the factory turned out its finished thread for warp, or filling. Next came the story of the flax. Classes of school children from New York or Arling- ton, the Oranges, or from Newark itself, gazed at the stately seed-crowned plant, timidly felt the rough points of the comb on which it was hackled, compared the blond tresses of some Swedish or Dutch classmate with the hanging flax or tow, and drew their own comparisons between the discipline of the breaking machine and of human life. The wool case showed the steps by which the merino sheep makes his contribution to the comfort of mankind, and the case of cocoons told how the moth yields its life that we may walk in silk attire. One end of the room was splendid with Jersey-made aniline dyes, and there the visitor learned why Oriental rugs, though old, retain their charm, and why our silk merchants mourn the loss of German trade. Around the room were shimmering speci- mens of the best of New Jersey textiles.